Editing Clint Eastwood (section)

== Directorial style ==
[[File:Gran Torino Shooting (4298193376).jpg|thumb|right|On the set of ''Gran Torino'', 2008]]

Beginning with the thriller ''Play Misty for Me'', Eastwood has directed over 30 films, including Westerns, action films, musicals and dramas. He is one of few top Hollywood actors to have also become a critically and commercially successful director. ''[[The New Yorker]]''{{'}}s [[David Denby]] wrote that, unlike Eastwood,<ref name="denby20100308">{{cite magazine |url=https://www.newyorker.com/reporting/2010/03/08/100308fa_fact_denby?currentPage=all |title=Out of the West |magazine=The New Yorker |date=March 8, 2010 |access-date=September 1, 2012 |author=Denby, David |archive-date=March 7, 2010 |archive-url=https://web.archive.org/web/20100307020408/http://www.newyorker.com/reporting/2010/03/08/100308fa_fact_denby?currentPage=all |url-status=live }}</ref>

{{blockquote|quote=John Ford appeared in just a few silent films; Howard Hawks never acted in movies. Clark Gable, Gary Cooper, Spencer Tracy, James Stewart, Cary Grant, Humphrey Bogart, William Holden, Steve McQueen, and Sean Connery never directed a feature. John Wayne directed only twice, and badly; ditto Burt Lancaster. Paul Newman, Jack Nicholson, Warren Beatty, Robert Redford, Robert De Niro, and Sean Penn have directed a few movies each, with mixed commercial and artistic success.}}

From the very early days of his career, Eastwood was frustrated by directors' insistence that scenes be re-shot multiple times and perfected, and when he began directing in 1970, he made a conscious attempt to avoid any aspects of directing he had been indifferent to as an actor. As a result, Eastwood is renowned for his efficient film directing and ability to reduce filming time and control budgets. He usually avoids actors' rehearsing and prefers to complete most scenes on the first take.<ref>[[#Munn|Munn]], p. 160</ref><ref name="Biskind19697">[[#Kapsis|Kapsis and Coblentz]], pp. 196–97 (interviewer Peter Biskind)</ref> Eastwood's rapid filmmaking practices have been compared to those of [[Woody Allen]], [[Ingmar Bergman]], and [[Jean-Luc Godard]].{{by whom|date=March 2024}} When acting in others' films, he has sometimes taken over directing, such as for ''The Outlaw Josey Wales'', if he believes production is too slow.{{r|denby20100308}} In preparation for filming Eastwood rarely uses [[storyboard]]s for developing the layout of a shooting schedule.<ref name="Gentry65">[[#Kapsis|Kapsis and Coblentz]], p. 65 (interviewer Ric Gentry)</ref><ref name="Abb173">[[#Kapsis|Kapsis and Coblentz]], p. 173 (interviewer Denise Abbott)</ref><ref name="Pascal235">[[#Kapsis|Kapsis and Coblentz]], p. 235 (interviewer [[Pascal Mérigeau]])</ref> He also attempts to reduce script background details on characters to allow the audience to become more involved in the film,<ref name="Intp678">[[#Kapsis|Kapsis and Coblentz]], pp. 67–68 (interviewer Ric Gentry)</ref> considering their imagination a requirement for a film that connects with viewers.<ref name="Intp678" /><ref name="Intp91">[[#Kapsis|Kapsis and Coblentz]], p. 91 (interviewer David Thomson)</ref> Eastwood has indicated that he lays out a film's plot to provide the audience with necessary details, but not "so much that it insults their intelligence".<ref name="Intp60">[[#Kapsis|Kapsis and Coblentz]], p. 60 (interviewer Ric Gentry)</ref>

According to ''[[Life (magazine)|Life]]'' magazine, "Eastwood's style is to shoot first and act afterward. He etches his characters virtually without words. He has developed the art of underplaying to the point that anyone around him who so much as flinches looks hammily histrionic."<ref name="Inc1971">{{cite magazine |last=Fayard |first=Judy |magazine=[[Life (magazine)|Life]] |title=Who can stand 32,580 seconds of Clint Eastwood? |url=https://books.google.com/books?id=OEAEAAAAMBAJ&pg=PA44 |access-date=March 8, 2011 |date=July 23, 1971 |page=46 |issn=0024-3019}}</ref> Interviewers Richard Thompson and Tim Hunter commented that Eastwood's films are "superbly paced: unhurried; cool; and [give] a strong sense of real time, regardless of the speed of the narrative",<ref name="Intp45">[[#Kapsis|Kapsis and Coblentz]], p. 45 (interviewers Richard Thompson and Tim Hunter)</ref> while Ric Gentry considers Eastwood's pacing "unrushed and relaxed".<ref name="Intp71">[[#Kapsis|Kapsis and Coblentz]], p. 71 (interviewer Ric Gentry)</ref> Eastwood is fond of low-key lighting and back-lighting to give his films a "[[Film noir|noir-ish]]" feel.<ref name="Biskind19697" /><ref name="Milan143">[[#Kapsis|Kapsis and Coblentz]], p. 143 (interviewer Milan Pavolić)</ref>

Eastwood's frequent exploration of ethical values has drawn the attention of scholars, who have explored Eastwood's work from ethical and theological perspectives, including his portrayal of justice, mercy, suicide and the angel of death.<ref>Sara Anson Vaux (2012). ''The Ethical Vision of Clint Eastwood''. Grand Rapids, MI: Wm. B. Eerdmans {{ISBN|978-0802862952}} {{OCLC|719426752}}{{Page needed|date=May 2019}}</ref>